“Dad’s Army” (Short Appreciation)

What’s the best British telly show ever?  As a movie purist I’m not in an ideal position to judge.  That said, I’m confident that Auteur House stocks most of the quality series from my long distant youth: “The Singing Detective”, “Brideshead Revisited”, “The Prisoner”, “Monty Python’s Flying Circus”, “Fawlty Towers” and the odd Benny Hill DVD.  Until recently there had been only one glaring omission: “Dad’s Army”.

In terms of ‘mass produced’ television - as opposed to the finely crafted mini-series - “Dad’s Army” is pretty much tops.  In 80 episodes spread across its 1968-1977 run there are no duds.

Grounded in the historical reality of the British World War II home front, “Dad’s Army” draws on the personal experiences of writer Jimmy Perry.  As a teenager Perry was part of Britain’s civilian defense force, a collection of those too young or too old to fight in the conventional military.  Known as the “Home Guard”, these volunteers trained after normal work hours.

Like all great comedy “Dad’s Army” has its basis in character.  The genius of the show is that while it pivots around the relationship between Arthur Lowe’s pompous Captain Mainwaring and his laconic, high born subordinate, John Le Mesurier’s Sergeant Wilson, the platoon they command is comprised of equally rounded, eccentric figures played by veterans of stage and screen.  Clive Dunn’s old soldier butcher Jones, Arnold Ridley’s dithering geriatric Godfrey, John Laurie’s naysaying Scottish undertaker Frazer, James Beck’s cockney spiv Walker and Ian Lavender’s molly coddled youngster Pike all have ample opportunity to shine.

“Dad’s Army”’s stands the test of time so well because it never fell into the trap of becoming formulaic.  Yes, characters, situations and lines of dialogue are repeated, but within a certain framework there is huge variety in tones, actions and outcomes.  There is little predictability about the direction or conclusion of individual episodes.  Simultaneously a gentle send up and sentimental homage to the ‘finest hour’ generation, it’s amusing and moving in equal measure, perfectly balancing slapstick with pathos.